http://salasika.org/index.php/SJ <p style="text-align: justify;"><strong>Salasika</strong> is etymologically derived from Javanese language meaning ‘brave woman’. <strong>Salasika</strong> with registered ISSN <a href="https://issn.lipi.go.id/terbit/detail/1575957697" target="_blank" rel="noopener">2716-0386</a> (printed) on December 2019 and <a href="https://issn.lipi.go.id/terbit/detail/1562911661" target="_blank" rel="noopener">2685-5143</a> (online) on July 2019 is published in January 2018 by <strong>Asosiasi Pusat Studi Wanita/Gender &amp; Anak Indonesia (ASWGI)</strong>. &nbsp;It is as international open access, scholarly, peer-reviewed, interdisciplinary journal publishing theoretically innovative and methodologically diverse research in the fields of gender studies, sexualities, and feminism. Our conception of both theory and method is broad and encompassing, and we welcome contributions from scholars around the world.</p> <p style="text-align: justify;"><strong>Salasika</strong> is inspired by the need to put into visibility the Indonesian and South East Asian women to ensure dissemination of knowledge to a wider general audience.</p> <p style="text-align: justify;"><strong>Salasika</strong> selects at least several outstanding articles by scholars in the early stages of a career in academic research for each issue, thereby providing support for new voices and emerging scholars.</p> <p style="text-align: justify;"><strong>Salasika</strong> has been accredited and awarded Sinta 3 according to Decision Letter (Surat Keputusan) by Minister of Research and Technology/National Research and Innovation Agency Number 204/E/KPT/2022 about Accreditation Rank of Scientific Journal Term 2 Year 2022.</p> en-US <p>Please find the rights and licenses in&nbsp;Jurnal SALASIKA: Indonesian Journal of Gender, Women, Child, and Social Inclusion's Studies. 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No specific document sign-off is required.</p> <ol> <li>License</li> </ol> <p>The non-commercial use of the article will be governed by the Creative Commons Attribution license as currently displayed on&nbsp;<a href="http://creativecommons.org/licenses/by-nc-sa/4.0/">Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License</a>.&nbsp;</p> <ol start="2"> <li>Author(s)' Warranties</li> </ol> <p>The author warrants that the article is original, written by the stated author(s), has not been published before, contains no unlawful statements, does not infringe the rights of others, is subject to copyright that is vested exclusively in the author and free of any third party rights, and that any necessary written permissions to quote from other sources have been obtained by the author(s).</p> <ol start="3"> <li>User Rights</li> </ol> <p>SALASIKA&nbsp;is to disseminate/published articles are as free as possible. 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SALASIKA&nbsp;will not be held liable for anything that may arise due to the author(s) internal dispute. SALASIKA&nbsp;will only communicate with the corresponding author.</p> <ol start="6"> <li>Royalties</li> </ol> <p>Being an open accessed journal and disseminating articles for free under the Creative Commons license term mentioned, author(s) aware that SALASIKA&nbsp;entitles the author(s) to no royalties or other fees.&nbsp;</p> ina.hunga@uksw.edu (Arianti Ina R. Hunga) journal@salasika.org (Arianti Ina R. Hunga) Tue, 11 Aug 2026 07:05:00 +0000 OJS 3.1.2.1 http://blogs.law.harvard.edu/tech/rss 60 http://salasika.org/index.php/SJ/article/view/197 The research aims at exploring how female puppeteers from Solo Raya use YouTube to introduce shadow puppets to the wider world, focusing on their role as custodians of Javanese culture online. It underscores their pivotal role as custodians of Javanese culture in the digital realm, where female puppeteers meticulously safeguard and reinterpret shadow puppet traditions on YouTube, ensuring the enduring legacy of moral narratives, philosophical depth, and artistic intricacies for both local communities and international viewers. Using a feminist research design informed by post-feminist theory and citizen diplomacy, the findings are based on data from 14 female puppeteers, who served as key informants, collected via YouTube. Female puppeteers deliver traditional shadow puppet performances, challenging male-dominated narratives and empowering women in cultural transmission. This research continues to consider YouTube's role in enabling female puppeteers to speak back against earlier male-dominated narratives while also changing who performs. Results show that these women puppeteers, through the YouTube platform, cultivate widespread global appreciation for Javanese culture, advancing gender equity within traditional performing arts, and significantly enhancing Indonesia's national soft power. Setyasih Harini, Christy Damayanti, Qonitah Rohmadiena Copyright (c) 2026 Setyasih Harini https://creativecommons.org/licenses/by-nc-sa/4.0 http://salasika.org/index.php/SJ/article/view/197 Tue, 11 Aug 2026 06:29:35 +0000 http://salasika.org/index.php/SJ/article/view/199 This article examines gendered power relations within the bureaucracy of the Provincial Government of West Sumatra, focusing on the gap between women’s capacity and their access to decision-making authority. Although women constitute the majority of civil servants and possess substantial educational and career capital, they remain underrepresented in strategic positions. This study aims to explain how institutional structures and practices shape unequal access to authority. Using a qualitative case study design, data were collected through in-depth interviews with civil servants across hierarchical levels and analysis of official personnel documents. Thematic analysis identifies patterns of power relations, dependence, and women’s autonomy in decision-making. The findings show that authority is concentrated in senior echelons dominated by men, while women are positioned in administrative and implementation roles. Informal practices, including networks and leadership norms, reinforce restricted access to strategic arenas. As a result, women’s capacity does not translate into influence over policy direction. The study argues that the limits of gender affirmative policies lie in their emphasis on numerical representation as a measure of success. This approach enables compliance without redistributing power. Advancing gender equality requires shifting the focus from representation to authority within bureaucratic systems. Rozidateno Putri Hanida, Redni Putri Meldianto Copyright (c) 2026 Rozidateno Putri Hanida https://creativecommons.org/licenses/by-nc-sa/4.0 http://salasika.org/index.php/SJ/article/view/199 Tue, 11 Aug 2026 06:32:13 +0000 http://salasika.org/index.php/SJ/article/view/211 Indonesia currently does not have legislation that specifically recognizes femicide, the murder of women based on gender, as a separate crime. Femicide cases are still considered ordinary murder (Article 338 of the Criminal Code), which results in gender-based motives being often overlooked and legal protection being provided less than optimally. The murder of women is often equated with general crimes, without considering aspects of misogyny or injustice in power relations related to gender. This study uses a normative juridical method, namely legal research that establishes law as a system of norms studied through principles, norms, rules from laws and regulations, agreements, and doctrines. The discussion results suggest that the current regulations do not differentiate between femicide and murder in general. This is due to a legal vacuum in which there are no specific regulations regarding femicide. Thus, cases of femicide, which have become the tip of the iceberg, ultimately reach the legal realm only as cases of general murder. In fact, femicide is the extreme murder of women because of gender identity, rooted in patriarchal domination. Endang Suparta, Fanny Refika Copyright (c) 2026 Endang Suparta https://creativecommons.org/licenses/by-nc-sa/4.0 http://salasika.org/index.php/SJ/article/view/211 Tue, 11 Aug 2026 06:35:22 +0000 http://salasika.org/index.php/SJ/article/view/220 The Middle East is a region rife with conflict and war, with no shortage of its own problems. A region that is strategic yet hotly contested by various powers, from which it derives its rather unique socio-political and cultural landscape. A common consensus is that due to its relatively outdated values and constant power struggle, the Middle East region as a whole is one where vulnerable groups, such as refugees, children, and most notably women, suffer from mistreatment and lack of adequate rights. Despite that, the region still shows large gaps in treatment and rights to these groups, even between neighbors. One of the most striking cases is Saudi Arabia and the UAE. Despite being direct neighbors, both nations have vastly different approaches to matters such as gender issues. Where Saudi Arabia still struggles with basic democratization and emancipation -such as during the Arab Spring wave of protests- the UAE instead has embraced a more forward way of thinking, allowing opportunities for women to serve in official government representative offices. Our study will examine the case between these two countries, and what factors created this diverging path, using qualitative observations of the two nations’ stance on gender-related matters. Devara Reyhan Wibisono Copyright (c) 2026 Devara Reyhan Wibisono https://creativecommons.org/licenses/by-nc-sa/4.0 http://salasika.org/index.php/SJ/article/view/220 Tue, 11 Aug 2026 06:39:23 +0000 http://salasika.org/index.php/SJ/article/view/224 Co-creation in heritage-based fashion product development has received increasing scholarly attention, yet the differing positions of women actors in transforming woven textiles remain underexplored. This study examines the co-creation process among women actors in transforming an East Sumba ikat textile into the EcoIkat mini collection. A qualitative case study was conducted at Parahita Craft, Salatiga. Data were collected from December 2025 to July 2026 through participant observation, interviews with five purposively selected informants, and document analysis. The data were analyzed using reflexive thematic analysis and interpreted through Bourdieu's theory of practice. The findings show that different forms of capital were unevenly distributed among the actors, while second-stage evaluation strengthened coordination and the circulation of cultural knowledge. Consumer appreciation, however, did not automatically translate into purchase, indicating that co-creation did not occur on an equal footing because women actors occupied different positions and possessed different forms of capital. These findings suggest that successful heritage-based fashion product development depends on the transmission of cultural knowledge and effective coordination among actors. The study highlights the need for more structured collaboration and transparent benefit-sharing mechanisms. Mustikad Zai, Arianti Ina Restiani Hunga, Antik Tri Susanti Copyright (c) 2026 Mustikad Zai https://creativecommons.org/licenses/by-nc-sa/4.0 http://salasika.org/index.php/SJ/article/view/224 Tue, 11 Aug 2026 06:43:25 +0000